{"id":2423,"date":"2026-11-02T14:20:38","date_gmt":"2026-11-02T14:20:38","guid":{"rendered":"https:\/\/atolyer10.com\/?p=2423"},"modified":"2026-11-02T14:22:19","modified_gmt":"2026-11-02T14:22:19","slug":"renklerin-ardinda-sakli-bir-hikaye-the-grand-budapest-hotel-filmi-uzerine-inceleme","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=2423","title":{"rendered":"Renklerin Ard\u0131nda Sakl\u0131 Bir Hik\u00e2ye: The Grand Budapest Hotel Filmi \u00dczerine \u0130nceleme"},"content":{"rendered":"\n

Baz\u0131 filmler hik\u00e2yelerini anlat\u0131rken bizi bir olay \u00f6rg\u00fcs\u00fcn\u00fcn pe\u015finden s\u00fcr\u00fckler; baz\u0131lar\u0131ysa daha ilk sahnesinden itibaren kendine ait bir d\u00fcnyan\u0131n kap\u0131s\u0131n\u0131 aralar. Wes Anderson\u2019\u0131n 2014 yap\u0131m\u0131 The Grand Budapest Hotel<\/em> filmi, benim i\u00e7in ikinci gruba giren yap\u0131mlardan biri. Filmin ba\u015flang\u0131c\u0131nda kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z renkler, titizlikle d\u00fczenlenmi\u015f mek\u00e2nlar, karakterlerin hareketleri ve neredeyse kusursuz g\u00f6r\u00fcnen kadrajlar, izleyiciye olduk\u00e7a belirgin bir g\u00f6rsel evren sunmaktad\u0131r. Ancak bu d\u00fczenli ve masals\u0131 g\u00f6r\u00fcn\u00fcm\u00fcn ard\u0131nda kay\u0131p, dostluk, sadakat, s\u0131n\u0131f ayr\u0131mlar\u0131 ve de\u011fi\u015fen bir d\u00fcnyan\u0131n h\u00fczn\u00fc yer almaktad\u0131r.<\/p>\n\n\n\n

Film, hayal\u00ee Zubrowka \u00fclkesinde bulunan Grand Budapest Hotel\u2019in ge\u00e7mi\u015fine uzanmaktad\u0131r. Hik\u00e2yenin merkezinde, otelin son derece disiplinli, zarif ve kendine \u00f6zg\u00fc kurallar\u0131 bulunan konsiyerji Gustave H. ile gen\u00e7 \u00e7al\u0131\u015fan Zero Moustafa bulunmaktad\u0131r. Gustave\u2019\u0131n eski m\u00fc\u015fterilerinden Madame D., beklenmedik \u00f6l\u00fcm\u00fcyle birlikte b\u00fcy\u00fck bir miras meselesini ve de\u011ferli bir R\u00f6nesans tablosunun etraf\u0131nda geli\u015fen olaylar\u0131 ba\u015flatmaktad\u0131r. Bu s\u00fcre\u00e7te Gustave ve Zero kendilerini cinayet su\u00e7lamalar\u0131n\u0131n, aile i\u00e7i anla\u015fmazl\u0131klar\u0131n ve tehlikeli kar\u015f\u0131la\u015fmalar\u0131n ortas\u0131nda bulmaktad\u0131r. Ralph Fiennes\u2019\u0131n Gustave H. karakterine katt\u0131\u011f\u0131 teatral tav\u0131r ile Tony Revolori\u2019nin canland\u0131rd\u0131\u011f\u0131 Zero\u2019nun daha sakin ve g\u00f6zlemci ki\u015fili\u011fi, filmin mizah\u0131n\u0131 ve duygusal dengesini olu\u015fturan \u00f6nemli unsurlar aras\u0131ndad\u0131r.<\/p>\n\n\n

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\"budapest-oteli-asansor-1024x767
The Grand Budapest Hotel, Wes Anderson, 2014. Film Ekran G\u00f6r\u00fcnt\u00fcs\u00fc (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

Anderson\u2019\u0131n anlat\u0131m\u0131nda dikkatimi en \u00e7ok \u00e7eken noktalardan biri, filmin zaman ve mek\u00e2n kullan\u0131m\u0131ndaki bilin\u00e7li tercihlerdir. Hik\u00e2ye farkl\u0131 d\u00f6nemler aras\u0131nda ilerlerken g\u00f6r\u00fcnt\u00fc oranlar\u0131 da de\u011fi\u015fmektedir. 1930\u2019lu y\u0131llar\u0131n anlat\u0131m\u0131nda kullan\u0131lan daha kareye yak\u0131n kadrajlar, 1960\u2019l\u0131 y\u0131llar\u0131n b\u00f6l\u00fcmlerindeki geni\u015f g\u00f6r\u00fcnt\u00fc oranlar\u0131 ve sonraki zaman dilimlerinde kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z farkl\u0131 kompozisyonlar, seyircinin hangi d\u00f6nemde bulundu\u011funu g\u00f6rsel olarak anlamas\u0131na yard\u0131mc\u0131 olmaktad\u0131r. Bu tercih, filmin anlat\u0131m\u0131na bi\u00e7imsel bir karakter kazand\u0131r\u0131rken zaman\u0131n de\u011fi\u015fimini de hissettirmektedir.<\/p>\n\n\n

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\"budapest-oteli-dining-room-1024x442
The Grand Budapest Hotel, Wes Anderson, 2014. Film Ekran G\u00f6r\u00fcnt\u00fcs\u00fc (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

Renk kullan\u0131m\u0131 ise filmin haf\u0131zada kalan en g\u00fc\u00e7l\u00fc \u00f6zelliklerinden biridir. Otelin pembe d\u0131\u015f cephesi, mor \u00fcniformalar, k\u0131rm\u0131z\u0131 tonlar\u0131, alt\u0131n sar\u0131s\u0131 ayr\u0131nt\u0131lar ve pastel renklerle olu\u015fturulan i\u00e7 mek\u00e2nlar, neredeyse bir ill\u00fcstrasyon kitab\u0131n\u0131n sayfalar\u0131n\u0131 and\u0131rmaktad\u0131r. Her nesnenin, mobilyan\u0131n ve karakterin kadraj i\u00e7indeki konumu \u00f6zenle belirlenmi\u015ftir. Simetriye dayal\u0131 kompozisyonlar, cepheden \u00e7ekilen sahneler ve kontroll\u00fc kamera hareketleri Anderson\u2019\u0131n g\u00f6rsel anlat\u0131m\u0131n\u0131n temelini olu\u015fturmaktad\u0131r. Kost\u00fcm ve dekor tasar\u0131mlar\u0131 da bu b\u00fct\u00fcnl\u00fc\u011f\u00fc desteklemektedir. Filmin sanat y\u00f6netimi ve kost\u00fcm tasar\u0131m\u0131 alanlar\u0131nda Oscar kazanm\u0131\u015f olmas\u0131, g\u00f6rsel d\u00fcnyas\u0131n\u0131n ne kadar g\u00fc\u00e7l\u00fc bir tasar\u0131m anlay\u0131\u015f\u0131yla kuruldu\u011funu g\u00f6stermektedir.<\/p>\n\n\n\n

Filmin renkli ve kusursuz g\u00f6r\u00fcnen y\u00fczeyinin alt\u0131nda, zamanla silinen bir d\u00fcnyan\u0131n izleri bulunmaktad\u0131r.<\/strong> Grand Budapest Hotel, hik\u00e2ye ilerledik\u00e7e eski ihti\u015fam\u0131n\u0131 kaybetmekte; \u00e7evresindeki politik ve toplumsal ko\u015fullar de\u011fi\u015ftik\u00e7e otelin temsil etti\u011fi ya\u015fam bi\u00e7imi de ortadan kalkmaktad\u0131r. Bu nedenle otel, yaln\u0131zca olaylar\u0131n ge\u00e7ti\u011fi bir mek\u00e2n olarak kalmamakta, ge\u00e7mi\u015fe duyulan \u00f6zlemin ve kaybolan bir d\u00f6nemin simgesine d\u00f6n\u00fc\u015fmektedir. Ba\u015flang\u0131\u00e7ta e\u011flenceli ve hareketli g\u00f6r\u00fcnen anlat\u0131n\u0131n giderek daha h\u00fcz\u00fcnl\u00fc bir tona b\u00fcr\u00fcnmesi de bu d\u00f6n\u00fc\u015f\u00fcmle ili\u015fkilidir.<\/p>\n\n\n

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\"budapest-oteli-mutfak-1024x776
The Grand Budapest Hotel, Wes Anderson, 2014. Film Ekran G\u00f6r\u00fcnt\u00fcs\u00fc (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

Oyuncu kadrosunun geni\u015fli\u011fi de filmin dikkat \u00e7eken taraflar\u0131ndan biridir. Ralph Fiennes ve Tony Revolori\u2019nin yan\u0131 s\u0131ra F. Murray Abraham, Tilda Swinton, Adrien Brody, Willem Dafoe, Saoirse Ronan, Edward Norton, Jude Law, Bill Murray ve Jeff Goldblum gibi pek \u00e7ok tan\u0131nm\u0131\u015f oyuncu hik\u00e2yeye e\u015flik etmektedir. Her karakterin s\u0131n\u0131rl\u0131 s\u00fcre i\u00e7inde bile kendine \u00f6zg\u00fc bir tav\u0131rla hat\u0131rlanmas\u0131, Anderson\u2019\u0131n oyuncu y\u00f6netimindeki ba\u015far\u0131s\u0131n\u0131 ortaya koymaktad\u0131r. Film, 2015 y\u0131l\u0131nda d\u00fczenlenen 87. Akademi \u00d6d\u00fclleri\u2019nde En \u0130yi Yap\u0131m Tasar\u0131m\u0131, En \u0130yi Kost\u00fcm Tasar\u0131m\u0131, En \u0130yi Makyaj ve Sa\u00e7 Tasar\u0131m\u0131 ile En \u0130yi \u00d6zg\u00fcn M\u00fczik dallar\u0131nda d\u00f6rt Oscar kazanm\u0131\u015ft\u0131r.<\/p>\n\n\n

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\"budapest-oteli-hapishane-1-1024x768
The Grand Budapest Hotel, Wes Anderson, 2014. Film Ekran G\u00f6r\u00fcnt\u00fcs\u00fc (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

Filmin benim en sevdi\u011fim b\u00f6l\u00fcmlerinden biri, Gustave ve Zero\u2019nun hapishaneden ka\u00e7\u0131\u015f s\u00fcrecidir. Bu sahnelerde gerilim, mizah ve hareket olduk\u00e7a dengeli bi\u00e7imde bir araya gelmektedir. \u00d6zellikle ka\u00e7\u0131\u015f plan\u0131n\u0131n uygulan\u0131\u015f\u0131ndaki ayr\u0131nt\u0131lar ve karakterlerin birbirleriyle kurdu\u011fu ili\u015fki, filmin temposunu belirgin bi\u00e7imde y\u00fckseltmektedir. Anderson\u2019\u0131n en hareketli anlarda bile g\u00f6rsel d\u00fczeninden vazge\u00e7memesi, bu sahneleri benim i\u00e7in ayr\u0131ca ilgi \u00e7ekici k\u0131lmaktad\u0131r.<\/p>\n\n\n\n

The Grand Budapest Hotel<\/em>\u2019in g\u00f6rsel d\u00fcnyas\u0131n\u0131 de\u011ferlendirirken akl\u0131ma gelen bir di\u011fer konu da Wes Anderson\u2019\u0131n sinemadaki kendine \u00f6zg\u00fc anlat\u0131m bi\u00e7imidir. Y\u00f6netmenin filmlerinde renk, mek\u00e2n, kost\u00fcm ve mizah birbirinden ba\u011f\u0131ms\u0131z unsurlar olarak kullan\u0131lmamakta; hepsi ayn\u0131 estetik anlay\u0131\u015f\u0131n par\u00e7alar\u0131 h\u00e2line gelmektedir. Bu y\u00f6n\u00fcyle film, sineman\u0131n g\u00f6rsel anlat\u0131m g\u00fcc\u00fcn\u00fc incelemek isteyenler i\u00e7in de olduk\u00e7a zengin bir \u00f6rnek sunmaktad\u0131r. Ayr\u0131ca hik\u00e2yenin Stefan Zweig\u2019\u0131n eserlerinden ve \u00f6zellikle onun nostaljik anlat\u0131m d\u00fcnyas\u0131ndan izler ta\u015f\u0131mas\u0131, filme tarihsel bir arka plan kazand\u0131rmaktad\u0131r.<\/p>\n\n\n

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\"budapest-oteli-lobi-1024x763
The Grand Budapest Hotel, Wes Anderson, 2014. Film Ekran G\u00f6r\u00fcnt\u00fcs\u00fc (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

Benzer bi\u00e7imde g\u00f6rsel dili g\u00fc\u00e7l\u00fc, karakterleri kendine \u00f6zg\u00fc ve anlat\u0131m\u0131nda masals\u0131 bir atmosfer bar\u0131nd\u0131ran filmlerden ho\u015flananlara Jean-Pierre Jeunet\u2019nin Am\u00e9lie<\/em> ve yine Wes Anderson\u2019\u0131n Moonrise Kingdom<\/em> filmlerini de \u00f6nermek isterim. Her iki yap\u0131m da kendi d\u00fcnyas\u0131n\u0131 kurma bi\u00e7imiyle izleyicide farkl\u0131 bir iz b\u0131rakmaktad\u0131r.<\/p>\n\n\n\n

Sonu\u00e7 olarak The Grand Budapest Hotel<\/em>, renkleri ve mizah\u0131yla kolayl\u0131kla i\u00e7ine girilebilen; fakat hik\u00e2yesinin arka plan\u0131nda zaman\u0131n ge\u00e7i\u015fine, kaybolan de\u011ferlere ve insan ili\u015fkilerine dair daha derin bir anlat\u0131 bar\u0131nd\u0131ran bir film. \u0130zlerken ayr\u0131nt\u0131lara bakmay\u0131, bir sahnenin nas\u0131l kuruldu\u011funu ve g\u00f6r\u00fcnt\u00fcn\u00fcn hik\u00e2yeye nas\u0131l hizmet etti\u011fini d\u00fc\u015f\u00fcnmeyi seviyorum. Bu film de her karesinde incelenebilecek yeni bir ayr\u0131nt\u0131 bar\u0131nd\u0131rmas\u0131yla benim i\u00e7in tekrar d\u00f6n\u00fcp bakmaya de\u011fer yap\u0131mlar aras\u0131nda yer almaktad\u0131r.<\/p>\n\n\n\n

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A Story Hidden Behind Pastel Colors: The Grand Budapest Hotel<\/h2>\n\n\n\n

Some films draw us into the pursuit of a storyline as they unfold; others open the door to a world of their own from the very first scene. Wes Anderson’s 2014 film The Grand Budapest Hotel<\/em> belongs to the latter category for me. The colors, meticulously arranged spaces, character movements, and almost perfectly composed frames we encounter from the beginning present the viewer with a distinctive visual universe. Yet behind this orderly and fairytale-like appearance lie themes of loss, friendship, loyalty, class divisions, and the melancholy of a changing world.<\/p>\n\n\n\n

The film takes us into the past of the Grand Budapest Hotel, located in the fictional country of Zubrowka. At the center of the story are Gustave H., the hotel’s highly disciplined and elegant concierge with a unique set of rules, and Zero Moustafa, a young hotel employee. The unexpected death of Madame D., one of Gustave’s former guests, sets in motion a major inheritance dispute and a series of events surrounding a valuable Renaissance painting. Throughout this process, Gustave and Zero find themselves caught up in murder accusations, family conflicts, and dangerous encounters. The theatrical manner Ralph Fiennes brings to Gustave H., combined with the calmer and more observant personality of Zero, played by Tony Revolori, forms an essential part of the film’s humor and emotional balance.<\/p>\n\n\n\n

One of the aspects that impressed me most about Anderson’s storytelling is his deliberate use of time and space. As the narrative moves between different periods, the aspect ratios of the images also change. The more square-shaped frames used to portray the 1930s, the wider aspect ratio in the scenes set during the 1960s, and the different compositions encountered in later periods help viewers visually identify the time in which each part of the story takes place. This choice gives the film a distinctive visual character while also emphasizing the passage of time.<\/p>\n\n\n

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\"budapest-oteli-mendls-1024x779
The Grand Budapest Hotel, Wes Anderson, 2014. Movie screenshot (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

The use of color is undoubtedly one of the film’s most memorable features. The hotel’s pink exterior, purple uniforms, shades of red, golden details, and pastel-colored interiors resemble the pages of an illustrated storybook. The position of every object, piece of furniture, and character within the frame has been carefully considered. Symmetrical compositions, frontal shots, and controlled camera movements form the foundation of Anderson’s visual storytelling. The costume and production designs further strengthen this visual unity. The film’s Academy Awards for Production Design and Costume Design demonstrate just how carefully its visual world has been constructed.<\/p>\n\n\n\n

Beneath the film’s colorful and seemingly flawless surface lie the traces of a world gradually fading away.<\/strong> As the story progresses, the Grand Budapest Hotel loses its former grandeur. As the political and social conditions surrounding it change, the way of life it represents also begins to disappear. For this reason, the hotel becomes more than just a setting for the events; it transforms into a symbol of nostalgia and a lost era. The shift in tone, from an initially entertaining and lively narrative to an increasingly melancholic one, is closely connected to this transformation.<\/p>\n\n\n\n

The size and diversity of the cast are also among the film’s most remarkable features. Alongside Ralph Fiennes and Tony Revolori, numerous well-known actors such as F. Murray Abraham, Tilda Swinton, Adrien Brody, Willem Dafoe, Saoirse Ronan, Edward Norton, Jude Law, Bill Murray, and Jeff Goldblum contribute to the story. The fact that each character remains memorable through their distinctive personality, even with limited screen time, demonstrates Anderson’s skill in directing actors. At the 87th Academy Awards in 2015, the film won four Oscars: Best Production Design, Best Costume Design, Best Makeup and Hairstyling, and Best Original Score.<\/p>\n\n\n

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\"budapest-oteli-hapishane-2-1024x793
The Grand Budapest Hotel, Wes Anderson, 2014. Movie screenshot (HDFilmCehennemi, t.y.)<\/figcaption><\/figure>\n<\/div>\n\n\n

One of my favorite parts of the film is the sequence in which Gustave and Zero attempt to escape from prison. In these scenes, suspense, humor, and action come together in a remarkably balanced way. The details of the escape plan and the relationship between the characters significantly increase the film’s pace. What makes these scenes particularly interesting to me is that Anderson never abandons his visual precision, even during the most action-packed moments.<\/p>\n\n\n\n

Another aspect that comes to mind when evaluating the visual world of The Grand Budapest Hotel<\/em> is Wes Anderson’s distinctive cinematic style. In his films, color, setting, costume, and humor are not treated as independent elements; instead, they all become parts of the same aesthetic vision. In this respect, the film offers a particularly rich example for anyone interested in exploring the visual storytelling capabilities of cinema. Furthermore, the traces of Stefan Zweig’s literary works, especially his nostalgic approach to storytelling, provide the film with an additional historical and literary dimension.<\/p>\n\n\n\n

For those who enjoy films with a strong visual identity, distinctive characters, and a fairytale-like atmosphere, I would also recommend Jean-Pierre Jeunet’s Am\u00e9lie<\/em> and another Wes Anderson film, Moonrise Kingdom<\/em>. Both films leave a unique impression on viewers through the way they create and develop their own cinematic worlds.<\/p>\n\n\n\n

Ultimately, The Grand Budapest Hotel<\/em> is a film that is easy to immerse yourself in thanks to its colors and humor, yet it contains a much deeper narrative about the passage of time, disappearing values, and human relationships beneath its surface. I enjoy paying attention to details while watching films, thinking about how a scene is constructed and how its visuals contribute to the storytelling. With something new to discover in almost every frame, this film remains one of those works that I find worth revisiting.<\/p>\n\n\n\n

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Kaynak\u00e7a<\/strong><\/p>\n\n\n\n

British Film Institute. (2014). The Grand Budapest Hotel<\/em>. BFI.
The Academy of Motion Picture Arts and Sciences. (2015). The 87th Academy Awards<\/em>.
20th Century Studios. (2014). The Grand Budapest Hotel<\/em>.
Anderson, W. (Director). (2014). The Grand Budapest Hotel<\/em> [Film]. Fox Searchlight Pictures.<\/p>\n\n\n\n

G\u00f6rsel Kaynak\u00e7a<\/strong><\/p>\n\n\n\n

HDFilmCehennemi. (t.y.). B\u00fcy\u00fck Budape\u015fte Oteli (The Grand Budapest Hotel). https:\/\/www.hdfilmcehennemi.nl\/hd-buyuk-budapeste-oteli-6\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Wes Anderson\u2019\u0131n The Grand Budapest Hotel filmi, g\u00f6rsel esteti\u011fiyle izleyiciyi masals\u0131 bir d\u00fcnyan\u0131n i\u00e7ine \u00e7ekerken zaman\u0131n ge\u00e7i\u015fi, dostluk, sadakat ve kaybolan de\u011ferler \u00fczerine de d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor. Gustave H. ve Zero\u2019nun maceralar\u0131 \u00fczerinden \u015fekillenen hik\u00e2ye; \u00f6zenle tasarlanm\u0131\u015f kadrajlar\u0131, renk paleti, kost\u00fcmleri ve kendine \u00f6zg\u00fc mizah\u0131yla sineman\u0131n g\u00f6rsel anlat\u0131m g\u00fcc\u00fcn\u00fc \u00f6n plana \u00e7\u0131kar\u0131yor. Bu yaz\u0131da filmin sanatsal diline, y\u00f6netmenin estetik tercihlerine ve renkli atmosferinin ard\u0131nda gizlenen nostaljik d\u00fcnyaya yak\u0131ndan bak\u0131l\u0131yor.<\/p>\n","protected":false},"author":10,"featured_media":2461,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[84,1],"tags":[41,98,284,285],"class_list":["post-2423","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gorsel-sanatlar","category-sinema","tag-film","tag-sanat","tag-the-grand-budapest-hotel","tag-wes-anderson"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/2423","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2423"}],"version-history":[{"count":13,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/2423\/revisions"}],"predecessor-version":[{"id":2463,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/2423\/revisions\/2463"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/2461"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2423"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}